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On examining the original, the scholar will find that to the couplet

• But if to-morrow comes, why then . . I'll haste to quaff my wine again,' Anacreon has no claim. It is entirely the offspring of Mr. Moore's imagination. But it is so much in the style of the jocund minstrel, that were he to fit in judgement upon it, we may almost presume he would approve of its insertion..

Ode XVth in the Vatican MS.-IXth Barnes.
• Tell me, why, my sweetest dove,
Thus your humid pinions move,
Shedding through the air in showers,
Essence of the balmief flowers ?
Tell me whither, whence you rovem
Tell me all—my sweeteft dove.
Curious stranger! I belong
To the bard of Teian song;
With his mandate now I fly
To the nymph of azure eye;
Ah! that eye has madden'd many,
But the poet more than any!
Venus for a hymn of love, .
Warbled in her votive grove,
('Twas in footh a gentle lay)
Gave me to the bard away.
See me now his faithful minion:
Thus with softly-gliding pinion,
To his lovely girl I bear
Songs of passion through the air.
Oft he blandly whispers me,'
“ Soon, my bird, I'll set you free.”
But in vain he'll bid me fy,
I shall serve hin till I die.
Never could my plunies sustain
Ruffling winds and chilling rain,
O’er the plains, or in the dell,
On the mountain's favage swell;
Seeking in the desert wood
Gloomy shelter, ruftic food.
Now I lead a life of ease,
Far from such retreats as there;
From Anacreon's hand I eat .
Food delicious, viands sweet;
Flutter o'er his goblet's brim,
Sip the foamy wine with him.
Then I dance and wanton round
To the lyre's beguiling sound;

. Or with gently-fanning wings ::

Shade the minstrel while he sings :
On his harp then sink in numbers,
Dreaming still of dulcet numbers !
This is all-away-away-
You have made me waste the day.
How I've chatter'd !--prating crow

Never yet did chatter so.' P.61. · This ode is exquisitely translated. The rigid critic will not pass unnoticed the diffufeness with which Mr. Moore has ren, dered

Llen pake ke? “ Kuenen

Λαβασα μικρον ύμνον. The second line of the couplet

« On his harp then Gink in flumbers,

Dreaming still of dulcet numbers !! has not the shadow of an archetype in the original : but he who can condemn such a beauty must have a frozen heart. It is certainly conceived and expressed in Anacreon's best manner,

Ode XXIId in the Vatican MS.-XXth Barnes,
• The Phrygian rock, that braves the storm,
Was once a weeping matron's form
And Progne, hapless, frantic maid,
Is now a swallow in the shade,
Oh! that a mirror's form were mine,
To sparkle with that smile divine ;
And like my heart I then thould be,
Refecting thee, and only thee!
Or were I, love, the robe which flows
O’er every charm that secret glows,
In many a lucid fold to swim,
And cling and grow to every limb!
Oh! could I, as the streamlet's wave,
Thy warmly-mellowing beauties lave,
Or float as perfume on thine hair,
And breathe my soul in fragrance there!
I wish I were the zone, that lies
Warm to thy breast, and feels its figlis;
Or like those envious pearls that show
So faintly round that neck of snow, ,
Yes, I would be a happy gem,
Like them to hang, to fade like them;
What more would thy Anacreon be?
Oh! any thing that touches thee.
Nay, sandals for those airy feet-
Thus to be pressed by thee were sweet!? P. 92.

On this ode Mr. Moore makes the following judicious remarks.

Ogilvie, in his essay on the lyric poetry of the ancients, in remarking upon the Odes of Anacreon, says" In some of his pieces there is exuberance and even wildness of imagination; in that particularly, which is addressed to a young girl, where he wishes alternately to be transformed to a mirror, a coat, a stream, a bracelet, and a pair of shoes, for the different purposes which he recites—this is mere sport and wantonness.”

• It is the wantonness however of a very graceful muse-ludit amabiliter. The compliment of this ode is exquisitely delicate, and so fingular for the period in which Anacreon lived, when the scale of love had not yet been graduated into all its little progressive refinements, that if we were inclined to question the authenticity of the poem, we should find a much more plausible argument in the features of modern gallantry which it bears, than in any of those fastidions conjectures upon which some commentators have presumed so far. P. 92.

We think Mr. Moore has transgressed the licence with which all translators mus be indulged, of presenting the spirit rather than the letter of their original, in his version of these two lines.

Εγω δ' εσοπτρον ειην

Όπως αει βλεπης με.
• Oh! that a mirror's form were mine,
To sparkle with that smile divine;
And like my heart I then should be,

Reflecting thee, and only thee!'. Had he stopped at the end of the first couplet, his version would have been exact and elegant. The two last lines contain a conceit better adapted to the epigrammatic muse of modern Italy than the natural and simple style of the Grecian bard: and the expression be reflecting thee is by no means consonant to the general polish of the translator's diction.

We have taken the liberty of making these remarks, not with a view of depreciating the general merits of the work before us, or of irritating its author by trifling objections to passages which have perhaps cost him much reflection and pains: but to show that we have not inattentively perused his verses, and that our opinion may have the more weight with the public when we recommend this translation as enlivened by the fpirit of the Teian muse, as chaste, elegant, perfpicuous, and lively.

Mr. Moore's notes are appropriate and instructive, and his exhibition of parallel passages is made with temperance and judgement. The work is neatly printed, and ornamented by three engravings executed by T. Nugent.

The Anacreontics which Mr. Moore has written in alluhon to the frontispiece of this volume prove that he has touched the Grecian lyre till he is at length able to handle it with a master's ease.'

Elays on Gothic Architecture, by the Rev. T. Warton, Rev.

7. Bentham, . Captain Grose, avid the Rev, 7. Milner. (With a Letter to the Publisher.) Illustrated with len Plates of Ornaments, &c. selected from ancient Buildings; calculated to exhibit the various Styles of different Periods. 8vo. 85. 6d. Boards. Taylor. 1800.

As we are far from being laves to what a French author has justly styled le petit goût de comparison,' we have ever regarded what is commonly denominated Gothic architecture as a grand and beautiful variety, not to be estimated by a comparison with the Greek, but by the peculiar impressions and sentiments which it is calculated to excite. We therefore see with pleasure the present collection of the bett essays which have hitherto appeared on the lubject.

• The want of a concise historical account of Gothic architecture has been a juit cause of complaint: the subject is peculiarly in. teresting to every Englishman, as his country contains the best specimens of a style of building not unequal in grace, beauty, and ornament, to the most celebrated remains of Greece or Rome. This style of architecture may properly be called English architecture, for if it had not its origin in this country, it certainly arrived at maturity here; the science and taste of our forefathers being equally. conspicuous with their piety and liberality. On this subject, England must be considered as a country, for it was under the Saxon dynasty this style of building was introduced, and under the Norman dynaity it received its ultimate degree of beauty and pertection.

• To remedy this want of a convenient manual on this interest. ing fubject, it appeared best to collect what had been already said by several authors of celebrity, in detached works, and which had been received as authorities. In this view, the Rev. Mr. Bentham's Eliay on Saxon and Norman Architecture, in his elaborate History of Ely Cathedral, stood foremost for selection, arrangement, and accurate discrinsination of historical facts: next to this, captain Grose's Preface on Architecture to his Antiquities of England is to be valued; which, although founded in a great degree on Mr. Beniham's opinions, yet contains some new points and authorities; in particular, his copious notes will be found very intereft. ing, and containing nearly all that has been said by sir Christopher Wren on the subject, which, being dispersed through many pages of tlie Parentalia, could not be given as a regular narrative. The

concise history by professor Warton, in his notes on Spenser's Fairy Queen, has received too much applaufe to be neglected; his words, though few, are important on the subject. To there the liberality of the Rev. Mr. Milner has allowed me to add, for the gratification of the public, the history of the origin and progress of the pointed arch, lately publithed by that gentleman, in his learned work on the History and Antiquities of Winchester. He also has been pleased to superintend the selecting of the series of examples on Plates VIII. IX. and X. which tend strongly to corroborate the opinions he maintains.' P. iii.

The editor proceeds to offer some remarks on the term Gothic architecture; but when he proposes to substitute the progressive terms of Saxon and Norman, he forgets that these kinds of architecture are to be found alınost over all Europe, and the appellations of course become improper, as they refer to one country only, Mr. Taylor might also have recommended many other books on Gothic architecture, besides those he has published himself-a recommendation which will often be attributed, perhaps, to self-interest, and which, in reality, carries too much of such an appearance along with it. The work, inoreover, would have been improved, if a catalogue of the best books on the subject, English and foreign, had been subjoined.

It is unnecessary to dwell on the able efsays inserted in this publication, which have already passed the ordeal of criticism, and been favourably received by the professional world. We Shall only observe that their republication is judicious and ac. curate; and shall now proceed to the consideration of the few parts of the present work that are original.

To the preface succeeds · Observations on the Means necessary for further illustrating the Ecclesiastical Architecture of the Middle Ages, in a Letter from the Rev. J. Milner, M. A. F. S. A. to Mr. Taylor.' Mr. Milner proposes to substitute the terın pointed style for that of Gothic; but there is, in plain truth, no very positive objection to the adjective in common use. Ignorant minds alone can associace with it the barbarisin of the ancient Goths and Vandals, who had apparently no concern in this inode of building, though Mr. Gibbon asserts that a representation of the royal palace on the reverse of a coin of Theodoric is the earliest delineation of the Gothic order. If this be true, the term would be highly just, as Theodoric was king of the Goths. But in a larger and more liberal view, as the Gothic nations and language overspread Europe, on the fall of the Roman empire, and during the period of time when this order was first instituted, there is no great impropriety in applying the term Gothic to the lvle of architecture in queftion, as contra-distinguished from the preceding Roman. Mr. Milner can pass no opportunity of blaming the alterations of

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